But greater still was Henry Moore, greater because his insight was even more acute and because, while he equalled Hook in robustness, he used his powers with more reserve. He was a finer colourist, a truer judge of tone relations, and more sensitive to refinements of atmospheric effect; and as an executant he had a lighter and more flexible touch. A lifelong painter of the open air, he began to study the sea almost at the outset of his career, and for some years alternated between landscapes and marine pictures, but eventually devoted himself almost exclusively to the branch of practice in which, as he plainly proved, he was without a serious rival. The particular charm of his work--a charm that is very apparent in the two examples reproduced--is in its suggestion of space and wide expansiveness, and of the recession of the surface of the sea to the far horizon. From such a picture as _A Breezy Day_--which forms a frontispiece to this article--many lessons are to be learned in the management of tone values to express distance, and in the treatment of clouds not as a background but as an overhanging canopy in true perspective; and both this and the _Break in the Cloud_ (p. 72) show most clearly the certainty with which he could draw the form of different kinds of waves and give to them their proper movement. And all this he did without appearance of labour and without exaggerated display of technical facility, but invariably with the quiet confidence that comes from exact and well-tried knowledge. Colin Hunter’s _Farewell to Skye_ (p. 73) seems, somehow, to have about it a touch of sentimentality and to be lacking in force. Perhaps this impression comes partly from the title, but it is encouraged also by the sweetness of the composition with its flow of curving lines and its carefully balanced distribution of lights and darks. But as a study of a picturesque coast scene the picture is pleasing, and as a note of an effect of evening illumination it has much merit. It represents well an artist who possessed his full share of the Scottish feeling for romance and whose methods were sound, and it can justly claim a place among the more popular of modern marine paintings. There is a place, too, for W. McTaggart’s _Sounding Sea_ (p. 74), a picture very different in inspiration and technical manner and yet as definitely expressive of the Scottish temperament. Like all McTaggart’s works, it arrests attention by the strength of its personal conviction and by the characteristic method of handling that he has employed, and to this attention it is fully entitled.